ABSTRACT
The milieu of musicians, artists, promoters, labels, and discussion around the genre that has been variously described as neo-folk, apocalyptic folk, folk noir, postindustrial, or dark wave has its roots in Punk, post-Punk, and the genre described as industrial. These moments and movements in popular music date from the mid 1970s and mid 1980s to the present day. Punk has had a huge number of texts, commentaries, and histories that have been written about it as a music and fashion movement (Marcus, 1993; Savage, 1991; Robb, 2006; Colegrave and Sulivan, 2005). Many of these accounts concentrate on the period from 1976 to 1978, and some go to 1980. Many of them use the 1978 death of the Sex Pistols as a conclusion. Punk may have died a little death in 1978 with the splitting up of the Sex Pistols, but that led to Johnny Rotten becoming John Lydon and showing his wide understanding of music by forming the ‘post-Punk’ (Reynolds, 2005) Public Image Ltd. In the towns and cities of Britain, Punk still had a divergent and incendiary life that was growing and growing (see Glasper, 2004, 2006; Sabin, 1999). Groups such as Joy Division, The Ruts, Chelsea, Siouxsie and the Banshees, The Buzzcocks, Magazine, Stiff Little Fingers, and UK Subs were developing and growing in popularity throughout 1979 and 1980 and from that period onwards bands such as Killing Joke, Theatre of Hate, Crass, The Mob, Bauhaus, Discharge, GBH, Southern Death Cult, Confl ict, Disorder, etc. were to develop the sound, ideas, and lifestyle of Punk and its various offshoots (positive Punk, Goth, post-Punk, anarcho Punk, hardcore) throughout the 1980s. Where most texts on Punk end is where many of the interesting developments and trajectories of Punk began.
